{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,3,23]],"date-time":"2026-03-23T13:21:22Z","timestamp":1774272082298,"version":"3.50.1"},"reference-count":35,"publisher":"MDPI AG","issue":"6","license":[{"start":{"date-parts":[[2026,3,23]],"date-time":"2026-03-23T00:00:00Z","timestamp":1774224000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Applied Sciences"],"abstract":"<jats:p>This study assesses indicative technical correspondences and divergences between Francisco de Zurbar\u00e1n\u2019s painting practices and those observed in the seventeenth-century \u00d3bidos workshop (Baltazar Gomes Figueira and Josefa d\u2019\u00d3bidos). We focus on the composition and function of priming layers, the shadow-to-light painting sequence, and pigment\/binder usage. A multi-analytical approach was employed: portable X-ray Fluorescence (XRF), Optical Microscopy on polished cross-sections (OM), Scanning Electron Microscopy in backscattered mode with Energy-Dispersive X-ray analysis (SEM-BSE\/EDS), Micro-Confocal Raman Spectroscopy (\u00b5-Raman), and Micro-Fourier Transform Infrared Spectroscopy (\u00b5-FTIR). Rather than treating single pigments as diagnostic, we compare patterns of application and stratigraphic behaviour\u2014notably a two-layer priming, in which a finer, Fe-rich upper layer is actively used to build shadows, and a consistent exploitation of the priming as a value layer in a shadow-to-light sequence. Materials largely overlap, while priming compositions differ, plausibly reflecting local resources. Given the small corpus (two works by Zurbar\u00e1n, one by Baltazar, and one by Josefa), conclusions are presented as indicative and contextualized within Iberian workshop practice.<\/jats:p>","DOI":"10.3390\/app16063087","type":"journal-article","created":{"date-parts":[[2026,3,23]],"date-time":"2026-03-23T11:59:36Z","timestamp":1774267176000},"page":"3087","update-policy":"https:\/\/doi.org\/10.3390\/mdpi_crossmark_policy","source":"Crossref","is-referenced-by-count":0,"title":["In Search of Zurbar\u00e1n\u2019s Influence on the \u00d3bidos Painting Workshop"],"prefix":"10.3390","volume":"16","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-7240-6956","authenticated-orcid":false,"given":"Vanessa","family":"Antunes","sequence":"first","affiliation":[{"name":"Laborat\u00f3rio Jos\u00e9 de Figueiredo, Museus e Monumentos de Portugal, EPE (LJF-MMP, EPE), Janelas Verdes s\/n, 1200-690 Lisboa, Portugal"},{"name":"ARTIS-Instituto Hist\u00f3ria da Arte, Faculdade de Letras, Universidade de Lisboa (ARTIS-FLUL), Alameda da Universidade, 1600-214 Lisboa, Portugal"}]},{"ORCID":"https:\/\/orcid.org\/0000-0003-2146-7024","authenticated-orcid":false,"given":"Sara","family":"Valadas","sequence":"additional","affiliation":[{"name":"Laborat\u00f3rio HERCULES, Escola de Ci\u00eancias e Tecnologia, Universidade de \u00c9vora, Largo Marqu\u00eas de Marialva 8, 7000-676 \u00c9vora, Portugal"}]},{"given":"Ant\u00f3nio","family":"Candeias","sequence":"additional","affiliation":[{"name":"Laborat\u00f3rio Jos\u00e9 de Figueiredo, Museus e Monumentos de Portugal, EPE (LJF-MMP, EPE), Janelas Verdes s\/n, 1200-690 Lisboa, Portugal"},{"name":"Laborat\u00f3rio HERCULES, Escola de Ci\u00eancias e Tecnologia, Universidade de \u00c9vora, Largo Marqu\u00eas de Marialva 8, 7000-676 \u00c9vora, Portugal"}]},{"ORCID":"https:\/\/orcid.org\/0000-0003-0103-3448","authenticated-orcid":false,"given":"Jos\u00e9","family":"Mir\u00e3o","sequence":"additional","affiliation":[{"name":"Laborat\u00f3rio HERCULES, Escola de Ci\u00eancias e Tecnologia, Universidade de \u00c9vora, Largo Marqu\u00eas de Marialva 8, 7000-676 \u00c9vora, Portugal"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-4935-3398","authenticated-orcid":false,"given":"Ana","family":"Cardoso","sequence":"additional","affiliation":[{"name":"Laborat\u00f3rio HERCULES, Escola de Ci\u00eancias e Tecnologia, Universidade de \u00c9vora, Largo Marqu\u00eas de Marialva 8, 7000-676 \u00c9vora, Portugal"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-6039-2494","authenticated-orcid":false,"given":"Sofia","family":"Pessanha","sequence":"additional","affiliation":[{"name":"LIBPhys-UNL, Laborat\u00f3rio de Instrumenta\u00e7\u00e3o, Engenharia Biom\u00e9dica e F\u00edsica da Radia\u00e7\u00e3o, Departamento de F\u00edsica, Faculdade de Ci\u00eancias e Tecnologia, Universidade Nova de Lisboa, 2829-516 Almada, Portugal"}]},{"given":"Maria L.","family":"Carvalho","sequence":"additional","affiliation":[{"name":"ARTIS-Instituto Hist\u00f3ria da Arte, Faculdade de Letras, Universidade de Lisboa (ARTIS-FLUL), Alameda da Universidade, 1600-214 Lisboa, Portugal"}]}],"member":"1968","published-online":{"date-parts":[[2026,3,23]]},"reference":[{"key":"ref_1","first-page":"233","article-title":"The Textures of the Counter-Reformation","volume":"16","author":"Llaguno","year":"2021","journal-title":"Cauriensia"},{"key":"ref_2","unstructured":"G\u00f3mez Gonz\u00e1lez, M.L., Bruquetas, R., and Vicente, P. 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